chapel,—which was at first assigned but a small recess,—so that the choir could be made as we see it in the present day. This being finished, there still remained the central tribune and the remainder of the church, which tribune and the rest was not vaulted until after the death of Filippo. The length of this church is one hundred and forty-four braccia.* Many errors may be perceived in it: among others, that of the pilasters being placed on the ground, instead of being raised on a dado, the height of which should have been equal to the level of the bases supporting the columns, which are placed on the steps; since the consequence of the pilaster being shorter than the column is, that the whole work looks stunted and ungraceful. But all this was caused by the counsels of those who came after Filippo, who envied his fame, and who had made models for the purpose of opposing his views during his lifetime. For these they had been rendered contemptible, by sonnets which Filippo had written; and in this manner they avenged themselves after his death, not in this work only, but in all that remained to be executed by them. Filippo left the model of San Lorenzo complete, and a part of the capitular buildings for the priests was finished, making the cloister one hundred and forty-four braccia in length.
While this fabric was in course of erection, Cosimo de’ Medici resolved to construct his own palace, and forthwith imparted his intentions to Filippo, when the latter set every other occupation aside, and made him a large and very beautiful model for the building, which he intended to erect on the Piazza, opposite to San Lorenzo, proposing that it should stand entirely isolated on every side. On this occasion the genius and art of Filippo were so nobly displayed, that Cosimo, believing the building would be too vast and sumptuous, could not resolve to have it executed, but he abandoned it more in fear of envy, than because he was deterred by the expense. Whilst this model was in progress, Filippo used to [1]
- ↑ At the death of Brunellesco, the sacristy of Lorenzo was finished; but not so the cross-aisle of the church, nor yet the small tribune, which was completed, both within and without, in a manner deviating widely from the plans of Brunellesco. The architect who ruined his idea was Antonio Manetti, as we learn from a letter published by Gaye, vol. i, p. 167 ei seq. For the most accurate account of the principal dimensions of this building, see the Guida di Firenze of the architect Fantozzi. — Ed. Flor. 1846-9.
